The year 1595 also saw the publication of Francis Sabie’s Pan’s Pipe, which contains, according to the not wholly accurate title-page, ’Three Pastorall Eglogues, in English Hexameter.’  These constituted the first attempt in English at writing original eclogues in Vergilian metre, and the injudicious experiment has not, I believe, been repeated.  The subjects present little novelty of theme, but the treatment illustrates the natural tendency of English pastoral writers towards narrative and the influence of the romantic ballad motives.  The same volume contains another work of Sabie’s, namely, the Fishermaris Tale, a blank-verse rendering of Greene’s Pandosto[116].

The three pastoral elegies of William Basse, published in 1602, the last work of the kind to appear in Elizabeth’s reign, form in reality a short pastoral romance.  The court-bred Anander falls in love with the shepherdess Muridella, and charges the sheep-boy Anetor to convey to her the knowledge of his passion.  His love proving unkind he turns shepherd, and resolves to remain so until his suit obtains better grace.  More than half a century later, namely in 1653, Basse prepared for press a manuscript containing a series of pastorals headed ’Clio, or The first Muse in 9 Eglogues in honor of 9 vertues,’ and arranged according to the days of the week.  The whole composition is singularly lacking alike in interest and merit.[117]

It is not surprising to find the eclogues of the early years of James’ reign reflecting current events.  In 1603 appeared a curious compilation, the work of Henry Chettle, bearing the title:  ’Englandes Mourning Garment:  Worne here by plaine Shepheardes; in memorie of their sacred Mistresse, Elizabeth, Queene of Vertue while shee lived, and Theame of Sorrow, being dead.  To which is added the true manner of her Emperiall Funerall.  After which foloweth the Shepheards Spring-Song, for entertainement of King James our most potent Soveraigne.  Dedicated to all that loved the deceased Queene, and honor the living King.’  The book is a strange medley of verse and prose, elegies on Elizabeth in the form of eclogues, and political lectures written in the style of the pastoral romance.  The most interesting passage is an address to contemporary poets reproaching them for their neglect of the praises of the late queen.  The pastoral names under which they are introduced appear to be merely nonce appellations, but are worth recording as they refer to a set outside the usual pastoral circle.  Thus Corin is Chapman; Musaeus, of course Marlowe; English Horace, no doubt Jonson; Melicert, Shakespeare; Coridon, Drayton; Anti-Horace, most likely Dekker, and Moelibee, mentioned with him, possibly Marston.  To Musidore, ‘Hewres last Musaeus’ (no doubt corrupt), and the ‘infant muse,’ it is more difficult to assign an identity.[118] Throughout Chettle assumes to himself Spenser’s pastoral title.